BAND
BIOGRAPHY
THE BAND
Kanseil are a Folk Metal project born in 2010 in Fregona, Veneto (Italy), named after Cansiglio highland and the beautiful forest that the highland hosts.
Kanseil match early medieval melodies, traditional folk sounds taken from all over Europe with death and black metal riffs, along with ancient-fashoned acoustic assembles creating, as a result, their own peculiar style.
Tzimbar Bint is the first, self-produced demo that Kanseil realized and it dates back to 2013. Along with the demo they started playing at several local events both in Italy and eastern Europe, sharing the stage with many others underground and international metal bands.
In 2014 the band was contacted by Nemeton Records and was very enthusiastic to join its roster; this took, in May 2015, at the release of their first full-length album Doin Earde.
From 2014 to 2016 Kanseil played more than 60 live shows, taking part in events joined by several national and international bands such as Korpiklaani, At The Gates, Folkstone, Enslaved, Omnia, Arkona, Manegarm and more.
Two years from the release of Doin Earde Kanseil started working at their second full-leght album and, in January 2018, it got recorded at New Sin Studio (Loria, TV). On May 25, 2018, Kanseil presented Fulìsche via RockShots Records.
Andrea Facchin - Lead Vocals
Marco Salvador - Guitars
Davide Mazzucco - Guitars, Bouzouki
Dimitri De Poli - Bass
Luca Rover - Drums
Luca Zanchettin - Bagpipes, Kantele
Stefano Herian Da Re - Whistles, Rauschpfeife
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INSTRUMENTS
GEFAIVA BAGPIPES
When it comes to authenticity of sound for Kanseil, I want to give my very best. Bagpipes are instruments that require a lot of maintenance and awareness about the mechanics of all the components so, in order to overcome my limited access to professionals who could do the job for me, I had to learn to do the thing by myself, until the point I started producing the whole instruments on my own. Playing with Kanseil is not like playing alone or in a pipe-band, this job requires to adapt the instrument to play in both electric and acoustic set, but still maintaining the authentic sound of a bagpipe. This means playing in equal temperament, and the reeds must be reliable in all kind of conditions, from an open-air festival under the July sun at 14 o’clock to a small crowded club, which is a tricky job for a woodwind instrument.
After some time of practice I decided to start a Facebook page, Gefaiva Bagpipes, where I post my works: pipes I make for me and my friends. Gefaiva is a Cimbrian word that roughly translates into “the sound of a woodwind instrument” (if you’re a German speaker you can maybe recognize a relationship with the word “Pfeife”).
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Making a bagpipe consists into merging a lot of skills from many different fields, like wood turning for shaping the wood into an instrument without wasting material or hurting yourself, botany and wood chemistry in order to recognize the right material for the right work, chemistry for producing treatments and finishes, fine handwork for reeds, and a lot of sound physics and music theory. It’s my dream hobby because you literally have to combine technique and arts like music and aesthetics.
In Kanseil music you can hear my bagpipes in the album Fulìsche: more precisely two French cornemuses, one in G and one in D, made of steamed pear wood, with imitation cow horn, ebony and boxwood ferrules. I picked this type of pipes because they’re the most versatile in my opinion, thanks to their large variety of scales they can play in, and the possibility of the second octave. In addition to that, having a moderate volume allows me play with other acoustic instruments fairly easily.
Playing with Kanseil gives me the opportunity to show-off my instruments around the world, so there’s nothing more satisfying then playing your own music with your own self made instrument, which is also a way to keep on with our tradition which is gradually disappearing in the modern times.
Luca Zanchettin
.43. GUITARS: THE ESSENCE OF SOUND
In the lab of .43. Guitars instruments come to birth with the work on woods characterized by proper veining, weight and density, and chosen with a view to the final effect they must realize in terms of sound and aesthetics.
During the assembling phase carved wood joins components of the very best technical and constructive quality, no matter to their particular brand.
A .43. Guitars musical instrument is the result of an almost obsessive attention to details: every part of it was thought and chosen to be as it is in order to have a superlative performance, good comfort, deep feeling and the very best sound.
